The Grateful Dead Live at Avalon Ballroom on 1968-10-12
- Grateful Dead
- DeadLists Project
Dark Star > St Stephen > The Eleven > Death Don't Have No Mercy
Cryptical Envelopment > Drums > Other One > Cryptical Envelopment > New Potato Caboose > Jam > Drums > Jam > Feedback
this date generally circulates mislabeled as "10/13/68" from a copy of an FM broadcast; for more info see deadlists.com; Other artist(s): Lee Michaels; Linn County; Mance Lipscomb
Related Music (Beta) question-dark
Versions - Different performances of the song by the same artist
Compilations - Other albums which feature this performance of the song
Covers - Performances of a song with the same name by different artists
|Dark Star ->|
|Saint Stephen ->|
|The Eleven ->|
|Death Don't Have No Mercy|
|That's It For The Other One ->|
|New Potato Caboose ->|
-- Pigpen was absent
-- First notes of 2nd Set missing
-- This runs over 80 minutes so you'll need to overburn your disc
-- Thanks to Joe B. Jones for his help with the pitch correction
- 2011-08-14 00:23:33
- Dat (Sony R500) -> Tascam SS-R05 -> Adobe Audition v3.0 -> Samplitude Professional v11.2 -> FLAC
- San Francisco, CA
- Run time
- Transferred by
- Charlie Miller
- Avalon Ballroom
Subject: a couple other A+ versions
https://archive.org/details/gd68-11-01.sbd.cotsman.18100.sbeok.shnf/gd68-11-01d1t01.shn for the Other One
https://archive.org/details/gd1969-02-21.sbd.miller.111780.flac16/gd69-02-21d1t05.flac for The Eleven
Subject: this and the 13th are great
Subject: Beyond the beyond
But sometimes you have to get back to the roots of the World Tree to get your bearings. To rediscover once again what it was all for in the first place.
How and why the whole thing was conceived.
And that means 1967 and 1968. Down in the basement, you know, where you've stashed all your old ideals, dreams and hopes from the movement years. When people talked about college classes having relevance and changing the whole goddamn world with some drugs, music and fairy dust.
Some younger folks may think the 1960's were nicey nice and just flowers and rainbows. Not true, and especially in 1968 was this not true.
They killed MLK and then Bobby. And we knew the official story was bullshit. And we knew the CIA was already into Laos and Cambodia.
And we were mad as hell. And scared as hell too, that our draft number was gonna come up. And then we would be faced with a life changing decision.
Run, or be part of the death machine? Tough, gritty thoughts for a 17 year old. And people you knew getting harassed on the street by cops just because they had long hair.
So, when you hear the intensity and anger in this show, this is the matrix from whence it was formed and inspired.
This IS essential Dead. Yes, folks were crazy and fun loving psychedelic children. But they also knew they were dancing on the edge of a dark abyss. And so they were warriors for the forces of light and love, had to be.
This show, and also 10/13 are just as much a part of American history as Washington crossing the Delaware. As much as the Beatles playing the Ed Sullivan show.
1968 was not for sissies. Can you pass the test?
It simply doesn't get any more masterfully, honestly primal than this. Expose your mind to this ASAP. Jerry is the Picasso of guitar here.
The whole band is other dimensional tonight.
Let your freak flag fly. Even if Hendrix did miss this show, we were all there. Know what I mean?
Dr. Flashback :-)
Subject: 10-12-68 If you get confused..
Originally (mis)labelled 10-22-68 Avalon Ballroom, my version of 10-13 (which might actually be 10-12-68) started out with a 'cold rain and snow', (later revealed as from 12-12-67 fillmore aud) then kicked off 'that's it for the other one', into 'new potato caboose', followed by a great version of 'morning dew'. Of course the Morning Dew featured a flute solo, which ruled out the 10-12 and or 10-13-68 show(s).
Forensic research later indicated it might be from a show from 1-14-67 Golden Gate Park, but I'm still unsure.
Side two is just incredible, and starts out with Jerry imploring the audience to 'please let go of your bodies, everybody!" After a short time, he says to somebody,"what do you want me to say, everybody HAS to dance, Or Else?" It's a great moment, but I can't seem to find the quotes on my upgrades of both 10-12-68 and 10-13-68.
Dark Star gives way to St. Stephen, launching into The 11 (one of their best ever!) then giving way to 'death don't have no mercy'.
Finally, for whatever reason, the original source of my tape decided to tack on the james brown classic 'man's world' (from 5-2-70 harpur college) as the side two closer.
Of course after all these years of spreading this show to all my friends (complete with mislabelled information!) i've come to believe that my original tape is probably from 10-12.
if you get confused, listen to the music play!
Subject: Just Perfect
Subject: Historia Regum Britanniae recounts it best
Subject: A Desert Island Show
Subject: A Monumental Performance
The elementary dance number to start things off is a moody masterpiece in miniature. Though not as intense as some Dark Stars from this era, this more introspective version remains a favorite of mine. Jerry is wonderfully lyrical and dynamic, and Phil is right there with him.
A powerhouse St. Stephen>The Eleven follows, The Eleven especially being one of the greatest of all time. The whole band is “just exactly perfect” and the jam is as wild, hard driving, and electric as it gets. I love when someone (Bob or Phil?) calls out the minor key transition, too. Death Don’t Have No Mercy is, as usual, a hot and sweaty blues excursion, but this version seems to have a little extra danger about it.
They may have saved the best for set 2, however. This Other One is truly a majestic beast, burning with fire and determination like I have heard in no other. I would not hesitate to call it a top-five version of the entire suite. Everyone is totally in synch. Every note by Garcia is perfectly placed. Almost too perfect to be live, but too great to be rehearsed!
The spacey segue into New Potato is wonderful, and then we get a classic reading of this tune, Phil taking a truly astonishing ‘thirteens style’ solo. A short, powerful drums segment precedes a totally out-of-nowhere Jam that bounces all kinds of themes around, including Alligator, The Other One and even a brief stopover at Caution. Only one way to describe this jam (and the whole show really up to this point)- Primal! The jam lends its way into a brain-melting feedback that sadly gets cut off, and- whew! -we’re back on solid ground.
Thank you Charlie 'Bear' Miller. Please continue your work on 60's shows.